#i really want powwow who have videos for both seasons

[altruistic-meme]

hunting for good omens reaction videos on youtube, if you have any that you really like please send them to me 🙏

[crazygingerwitch]

Supernatural Season Finale Part 2

I love this song!! That is a really pretty lake. I want to visit. It is so domestic! I hope she's okay. I understand. I speak German and IKEA instructions are stupid. Oh Cass you're so sweet! I want more of this. I'm sorry Dean. You don't get a break. I called it! Crowley is a sneaky bastard. He's never dead. No! She was evil but you didn't have to kill the one sassy redhead left on the show. Mark Pellegrino is so sassy! He is my favorite Lucifer. Cass you're like an overprotective father. Who needs that many diapers? Nice job Mary, showing the Winchester pride. What the heck did that baby just do? Is Cass in Mordor? Who is it? Who did Cass meet? She's recording videos! She said what Mary would say to Dean. Kelly Kline is my hero. She is a goddess. Boom! There's Crowley. He said Moose. Ha! 'Then we kill him.' Nice job Sammy. Wow, so much love for your Mom there Crowley. Looks like your ego got in the way there. Everyone would hate your job Crowley. Looks like he's growing soft. If the world is ending go for the flannel. Words of Wisdom from Crowley. Take the deal! That is to good to be true. If that happens, what would that leave for the Flannel brothers though? Come on Kelly. You've got this. Seriously I want answers about that portal! They found Cass! Nice alias buddy. Using your vessel's name. Cass you are to cute. I like this. It's a good feel for him. I wish Kelly could stick around. She seems pretty dang awesome. He has so much hope for this baby. That would be wonderful. I wish Kelly could make it. Ah, the distinctive sound of the Impala. Leave your angst at the door boys. Yay you filed his leg. Space time tears! Alternate Realities! Mentions to French Mistake. That baby has a lot of mojo. 11/10 for the badness levels. 'Unborn baby God.' Never thought I would hear that. Bobby! It's Bobby! What the actual heck someone help contain my joy. Is there a Charlie here to? No Sam and Dean here? What the actual heck? The Winchesters are amazing. Girl powwow. Motherhood and love brings us all together. 'Dicks upstairs'. He named his gun Rufus. Of course he did. Crowley stop popping up everywhere. It's annoying and not surprising anymore. Faith in family! Sometimes that includes Crowley. Everyone needs that crazy uncle who visits. Here's Luci! So sassy. They never run! What the heck? Lure them into the other realm. These episodes have so many action movies quotes. Their plan is going to backfire I just know it! Crap, blaze of glory. I know what's about to happen. There are tears in his eyes. Called it! He's a goner. We're going to miss the clad in black snark of this demon. Cass go now! Hurry! Here comes baby Jack! Nooooooooooo! Not my trench coat!!!!! Not the both of them! Gross! Don't hit on their Mom. Mary, what are you doing!?!?!? Noooooooo! She can't be trapped there. They just mended their family. Now 3/5 are dead! Kelly's gone to. What the heck! Why can't they get a break? Is the baby already a full grown man? Because I see footsteps. What the heck! You can't just end the season like that!!!! I need answers!!! Why was there so much death!!!!!!! Somebody help me!!!!!!!!

[ecoamerica]

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[milliebobbybrownfan]

New Post has been published on Millie Bobby Brown Fan #MillieBobbyBrown #StrangerThings

New Post has been published on http://millie-bobby-brown.com/photosvideo-millie-for-instyle-magazine/

Photos/Video: Millie for Instyle Magazine

Millie will be in the new issue of Instyle magazine that hits newstands later this week. Check out photos from the spread as well as a behind the scenes video. I will add scans as soon as I can.

A post shared by Anthony Maule (@anthony.maule) on Oct 5, 2017 at 7:38am PDT

Millie Bobby Brown Talks Fame, Fashion, and “The Upside Down” The most telling moment in Millie Bobby Brown’s InStyle fashion shoot comes while she’s standing atop a ladder in a pink cascading Valentino couture gown assuming a series of model-like poses as the camera clicks away. She’s been working it for a half hour or so, when the far-off look on her face disappears and her self-proclaimed inability to sit still takes over.

“I think we’ve got it,” she announces, hopping off her perch and heading to wardrobe, the scent of teen spirit wafting in her wake as everyone starts moving on to the next frame.

Not many 13-year-olds get away with literally calling the shots in a room full of New York City fashion creatives, but confidence is not something the fledgling star lacks.

Brown grew up as the third of four children in the southern English coastal town of Bournemouth, where her parents realized early on that she was a natural-born performer. While her siblings favored cartoons, Brown opted for musicals and watched America’s Next Top Model on repeat. She started auditioning for commercials at age 8 and eventually landed bit roles on shows like Modern Family and Grey’s Anatomy.

Her big break came last year when she bounded onto the scene in Netflix’s ’80s-inspired sci-fi hit, Stranger Things, in which she holds her own against Matthew Modine and Winona Ryder as Eleven, a wunderkind with psychokinetic abilities who can throw grown men into walls with her distinctive steely stare. She’s already nabbed a SAG Award for her role as part of the ensemble cast, and the series received 18 Emmy nominations for its first run, including outstanding supporting actress in a drama series for Brown.

Given that Season 1 ended with her character presumably trapped in the underworld called the Upside Down, questions have persisted about her return. Fear not: Brown confirms over a plate of French fries that she will be back and is more excited than ever, in part because she has more than the 40 or so lines she had last year. “It’s a lot darker and more emotional and emotionally challenging for me, 10 times more than the first season,” she says. “Everything is explained.”

Brown also just wrapped her first feature film, Godzilla: King of the Monsters, in which she plays the lead opposite Vera Farmiga and Kyle Chandler. She loved the experience, but not so much the big-screen pacing. “I had the time of my life, but it’s very different,” she says. “The other day we did 75 takes for one scene, and for Stranger Things we sometimes do it all in one take, so it’s very interesting.”

Along with her experience, her social circle is also broadening. She’s done solo TV appearances on Ellen and The Late Show with Stephen Colbert, had powwows with the likes of Meryl Streep and Barack Obama (both of whom she calls “very sweet”), and even gone from fangirl to friend of Miley Cyrus. “We text and FaceTime often,” says Brown. “She’s fabulous.”

Now Brown is getting used to having her own admirers. “I can’t walk down a street or outside this hotel without somebody asking for a picture,” she says. “But there’s also the fact that I kind of asked for it, you know? I can’t blame it on my fans. I will never say no unless I’m in an airport and need to catch a flight or I’m at dinner with my family, because that’s just quality time. But other than that, no, I’m fine with the fame. I accept it. All I want to do is model, act, and sing, so if fame comes with that, then so be it.”

A triple threat if there ever was one, she says she’s not quite ready for Broadway but enjoys honing those ANTM skills. “Modeling is very close to my heart,” she says. “I feel like just taking pictures is amazing. You’ll feel if you did a good job in that shoot—or if you feel like you haven’t, then you haven’t. But some pictures turn out to be iconic, and it means so much.”

Not surprisingly, the fashion world loves her right back. (A young, bubbly pixie on the rise who can wear clothes well? What’s not to love?) She has been courted by brands such as Coach and Louis Vuitton and is currently the face of Converse. This past January she appeared in the first campaign for Calvin Klein’s couture line, By Appointment, under the watchful eye of new chief creative officer Raf Simons, one of the industry’s most revered designers. She was playing Monopoly with her family in a cabin in the woods when her agent called to tell her she got the gig. When asked if she knew of Simons’s work beforehand, Brown’s reply is the verbal equivalent of an eye roll: “Of course. I mean, come on.”

Off duty, she favors pieces from Topshop and her Converse kicks, but for any professional appearances the selection process isn’t as casual. She works with a stylist to find “age-appropriate” looks that are then run by an extensive list of guardians. “Everything I wear has to go through every person on my team,” she says. “It has to go through my mum first. If she approves, it’ll go to my agents, and then, obviously, the last stop is my dad—and if he doesn’t like it, then I’m not wearing it. It’s as simple as that.”

Her steady references to her family are a charming reminder that she’s still a kid, albeit one with an outsize future. “You know, I’m just a 13-year-old like any other 13-year-old, so I just plan on living my life and take it step-by-step. Hopefully, in five years’ time I will be in college. No, let’s say eight years … unless I get a really good movie. Then it’s, ‘See ya, college!’ ” – Source

2017: Photo Session #020 2017: Photo Session #020 – Screencaps

[njawaidofficial]

Snapchat Content Chief Reveals Key to Creating Shows for Mobile

http://styleveryday.com/2017/08/24/snapchat-content-chief-reveals-key-to-creating-shows-for-mobile/

Snapchat Content Chief Reveals Key to Creating Shows for Mobile

“Whether it’s a puking rainbow or a dancing hot dog, we create cultural moments,” says Nick Bell as he also shares the pros of vertical video and cons of long-form and live programming.

Nick Bell was just 16 when he sold his first company, Teenfront.com, a teen editorial brand. Several years later, after launching a failed online video startup, the Newcastle, England, native landed at Rupert Murdoch’s British newspaper business, which transferred him to New York in 2013 to work on digital products for News Corp. As part of that job, Bell arranged a meeting between Murdoch and Snap Inc. CEO Evan Spiegel. The powwow didn’t amount to much for Murdoch, but it did lead to Bell taking a job at the then-fledgling messaging app.

Now Snap’s head of content, Bell, 33, is charged with creating video programming that will keep Snapchat’s 173 million daily users engaged, the key to fighting rival Facebook for advertiser dollars. Snapchat received a $500 million investment from NBCUniversal and has struck deals with some 70-odd media partners, including E!, Cosmopolitan, ESPN and CNN, for both Discover (daily digests) and Shows (short serialized videos). “The biggest revelation for us out of Discover was that shortform video doesn’t work on mobile,” says Bell. “Mobile video is a new format.”

To that end, Bell isn’t so much looking to replace TV as augment it. “Mobile is not a TV killer,” he said Aug. 23 during an appearance at the Edinburgh TV Festival, where he also revealed that Snapchat plans to introduce scripted programming to its lineup by the end of the year. 

While Bell is gaining momentum in Hollywood, Snap has yet to impress Wall Street. The company’s stock price has dropped more than 50 percent since it went public in March as user growth stalls and losses widened to $433 million last quarter.

Bell, who lives in Brentwood with his fiancee, Sara Praw, a Universal Pictures consumer products manager, works alongside his development team in Marina del Rey. He sat down with THR at Snap’s main office in Venice (where he also frequently works) to reveal what he’s learned about the mobile landscape, how he’s planning to approach scripted content and to whom he turns for advice. 

What kind of video works best on Snapchat?

The audience is basically developing this language of what mobile video is. Some of it’s really obvious, like vertical video. Everybody who comes in the door at Snap and is pitching us knows that it has got to be vertical. When shooting people, you shoot them slightly off-center and from an arm’s distance because when people are sending selfies of themselves, that’s the perspective. It feels authentic and, therefore, should follow through to anything that we produce professionally as well. Snapchatters add doodles, which are all about having an additional layer of context, and that comes through as professional onscreen graphics. [E! Entertainment’s] The Rundown does a great job with this.

Will Snapchat venture into scripted programming?

Scripted is really exciting and an area we’re going to go into. But what we want to do first is prove the format and refine the format. Scripted is expensive, so we want to make sure that we go out with a really good first effort. We spent a lot of time thinking about what would lend itself well to Snap — how you develop characters, what the narrative and the story arcs look like when you’re telling these stories in a short format, the importance of episodic content and what happens in this world where people can miss content. Do you make previous episodes available? We’re really excited about something that is very regular and people can tune in to on a daily basis, potentially. We’re also thinking about what content can travel borders.

Would you consider doing long-form video?

I know people do watch full seasons of 13 Reasons Why on their mobile device, but I don’t think it’s the best place to watch it. The best experiences are made-for-mobile content. Our approach has been slightly different to some of the other tech platforms out there who think about desktop and mobile and OTT in the same breath. We don’t. We think about mobile experiences. What we’re finding right now is the optimum length is four to five minutes.

What kinds of projects do you get pitched?

Very early on, everybody was pitching us scripted series that were kind of Blair Witch-esque, where everything was shot on Snapchat. That just didn’t really resonate. We found that meetings went one of two ways: People wanted to do marketing for something else they were working on or people wanted to do stuff that hadn’t landed elsewhere.

What kind of programming are you looking for right now?

Our approach is that it’s an art, not a science. We’re not afraid to have opinions. We are not an open platform, and we really value scarcity. We want to get to a point where we’ve got three things a day by the end of this year — not hundreds. We know what we want and we’re going out and we’re finding that. The other thing that’s important is, we like new IP. We don’t want to take IP that’s being tried elsewhere and try to import it to our platform. For me, what’s really interesting is The Rundown, Phone Swap and Second Chance, where we’ve worked with creators to think up new stuff that’s going to be really interesting. The show that we’re doing with James Corden is something new. It’s original.

With the launch of Facebook’s new video initiative, how will Snapchat stay competitive in mobile video?

We continue to innovate. We continue to take bets. We continue to evolve our thinking. Other platforms are a couple of steps behind on most of this stuff and I’m really proud of that. We hope to continue that. We’re really focused on what the format is and on working with the best people in the industry.

How have Snapchat’s recent growth problems impacted viewership of Shows?

If you look at the base we have, it’s an audience using smartphones with good data plans in developed markets, so it’s people who are able to access the content. What makes me proud about Snapchat is, whether it’s a puking rainbow or a dancing hot dog, we create cultural moments, and we’re starting to do that with the Shows content.

Why hasn’t Snapchat followed Facebook and Twitter into live programming?

There are a few examples where I think live works really well, and that is where there is a pre-planned event — whether it is a news conference or a sporting match — or where something unfolds where there’s going to be payoff, like a car chase. The problem with live in many cases is, if you allow someone to just start airing and publishing content, and you reward the number of minutes that are published, then it creates a lot of trash.

Would you ever go after rights for a live sporting event?

We’ve got no immediate plans to stream whole games, but I think the ability to bring those moments that matter through Snapchatters is really exciting.

What did you learn from when Snapchat was producing more of its own content via the now-disbanded Snap Channel on Discover?

For us to have the depth of talent and the quality of talent [in-house] that we’ve tapped into across the handful of shows that we’ve done so far, would be very challenging as a company. We’ve worked with some incredible folks. We’re shooting a season with Ben [Winston] and James Corden at the moment. It would be very difficult for us to hire those people on staff here at Snapchat. What we’ve been able to do is tap a much broader slate and a much broader bench of talent. I like to think it’s a true partnership. We bring to the table not only distribution but a lot of thinking and a lot of data and insight around mobile. Great storytellers get really excited by that.

After years working for a traditional media company, what led you to join Snapchat?

Evan and I connected pretty quickly because when we were talking about product, we were talking about the philosophy of the product, rather than pixels and buttons. One thing I’ve come to learn with Evan is that all of the product ideas start with these sort of philosophical approaches to problems — or to opportunities, if you like. We started talking about what was wrong with the world of digital content and what was great about TV and print, and how we could take some of the pillars and cornerstones of TV and print and bring them into the mobile world. An hour and a half into the conversation, it started to formalize into a product that I started to kind of pitch him, and then he smiled and showed me an early prototype of what was Discover. It was pretty crude, and it was certainly a long way from the product that we launched, but we certainly shared a vision.

How involved does Evan Spiegel get with the content decisions?

Philosophically, very involved. He gives his opinions on stuff, but he trusts us to go and do this. I couldn’t ask for a more supportive CEO, and I value his opinions because of who he is, not because he’s my boss.

Do you ask for guidance from Michael Lynton, the former Sony CEO who is now Snap chairman?

Michael has been an incredible supporter and mentor for me, and I really value his opinion. I speak to him very regularly.

Whom else do you turn to for advice?

I’ve got a lot of respect for [television producer] Michael Davies. I’ve got a lot of respect for [Late Late Show exec producer] Ben Winston. I’m really interested in what Jeffrey Katzenberg is doing with New TV, and we’ve spent a lot of time discussing what mobile looks like in the future.

A version of this story first appeared in the Aug. 23 issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe.

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